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Legalize It PR
LEE JAFFE “LEGALIZE IT” September 8 - October 6, 2012 OPENING RECEPTION Saturday, September 8 from 7 to 10 PM Dem Passwords is pleased to present, "Legalize It," a photo and video exhibition by Lee Jaffe. ! ! Bronx born Jaffe's narrative unfolds out of filmmaking, performance and conceptual art into music and photography through the lens of an itinerant activist insider. Politicized as a product of the Vietnam War and Civil Rights era and in league with a transgressive milieu of artists extending from the United States to the Caribbean, down to Brazil and overseas to West Africa, Jaffe has hewn a path for rebel expressionism into and outside of the mainstream since the late 1960's. ! From 1972 to '76 Jaffe traveled with and contributed to the energy of the Reggae music explosion led by Bob Marley and company. What remains is their spirit embedded in images rich in modern celebratory energy, ordered by Jaffe's rural topophilia, but more exotic for their rawness.!Peter Tosh!rides a donkey. Bob and Peter hang out by a window in a long-take video. Peter poses in a red clay ganja field. These are young men in touch with a dangerous energy that at the time these images were captured, was only beginning to manifest.! ! The 1974 international breakthrough of "Natty Dread" crystallized their contemporary impact, fertilizing the marketplace for Tosh's solo output and the advancement of their revolutionary politics.! ! Jaffe's collection captures Peter Tosh in the Spring of '76 just months before the release of his now classic debut solo album “Legalize It”,! 11 years before his assassination.! ! "…the divine spirit that we was born and raised with, it teaches us to multiply nothing with nothing and get something. -
Painting to Survive Proposal
Pain%ng to Survive, 1985-1995 Curated by Jonathan Weinberg, ar%st and art historian The Brooklyn Waterfront Ar%sts Coali%on, April 2018 Jane Bauman Lee Jaffe John Bradford Stephen Lack Suzan Courtney Marc Lida Jean Foos Michael O@ersen Joel Handorff Jonathan WeinBerg Richard Hofmann Pain&ng to Survive focuses on a group of painters who responded in complex ways to the AIDS epidemic and the Culture Wars of the Reagan and Bush years. The children of the so-called “Greatest GeneraNon,” these arNsts either grew up in New York City, or came to the Metropolitan area with a sense of great opNmism. Although the city was undergoing enormous economic upheaval in the 1970s, rents were cheap and there was an explosion of possiBiliNes in Lower Manha@an for young arNsts to make and show work. But the collapse of the East Village art scene and the devastaNon of the AIDS epidemic cast a pale over many of their careers. In the case of Hofmann and Lida, AIDS ended their life too early. The loss of so many friends, family and colleagues to the disease traumaNzed those who lived on, even as it Became more and more difficult to jusNfy large scale emoNve painNng in an art world that increasingly valued parody, appropriaNon and minimalism over expressionism. Yet these arNsts kept painNng with marvelous results. This exhiBiNon provides a chance to reassess this work Both in terms of its formal qualiNes and as a form of sanctuary in hard Nmes. For all of these arNsts painNng was a means of expressing anger and mourning, But also qualiNes of Beauty and harmony; a generosity of form to comBat a society that seemed at Nmes heartless and indifferent. -
Eva Presenhuber
EVA PRESENHUBER Press release June 2019 Lee Jaffe Jean-Michel Basquiat June 28 to July 26, 2019 39 Great Jones Street, New York, NY 10012 Opening on Thursday, June 27, 6 to 9 pm Lee Jaffe’s music career was almost over before it began. Following his decision to drop out of Penn State University before his senior year, Jaffe’s band had their musical equipment stolen before they ever played a single show. Musically inclined from an early age, one of Jaffe’s lifelong goals was to play the harmonica alongside Muddy Waters. Despite this goal never being realized Jaffe says with a laugh, he’s now content with the musical accomplishments that are on his CV—band member, Bob Marley and The Wailers. Jaffe met Marley at a hotel in New York in 1973 where he was visiting his friend Jim Capaldi after his group, Traffic, had performed in Madison Square Garden. Marley, whose band had just completed their first album for Island Records, had a cassette of the record and Capaldi insisted Jaffe hear it. It proved to be an epiphany. Marley’s label president, Chris Blackwell asked Jaffe if he would help to organize a North American Tour. Though Jaffe preciously considered a return to Brazil—where he had lived and collaborated with seminal Brazilian artist Hélio Oiticica—Jaffe decided to accept the invitation and departed with Bob to Kingston. After a ten-day stay with Marley, who introduced Jaffe to all of his associates, Jaffe decided to remain in Jamaica. The chance encounter led him to witness the evolution of the Wailers from local heroes to global phenomenon—eventually recording on Bob’s third Island Records album, Natty Dread and performing live on the supporting tour. -
Interview with Aston “Family Man” Barrett Jas Obrecht
INTERVIEW WITH ASTON “FAMILY MAN” BARRETT JAS OBRECHT, FEBRUARY 14, 2011 ANN ARBOR, MICHIGAN I want to thank you for agreeing to talk with us. Yeah, man, it’s a pleasure for me too. I’m in the mood. I’d like to start by asking a question about your brother, Carly. Okay. Is it accurate to say that he was the inventor of the one-drop beat? Accurate. That’s da man. How did he come up with it? Well, you know, we always think of music, like the height of music. Robert said, “What is the heights of music?” Some people said soul music, some say classical, you know. We did a lot of research, and we realized that jazz is the heights of music. Jazz. So we decided to check out what jazz is all about, and we found out that it’s just a free-form music. So we decided to free-up ourselves [laughs], you know, encourage ourselves. And, of course, drums are the first instrument in music. You know, they used to use it a lot in Africa to send messages across the village and valley and city, everywhere. So what we do, we in-graft that kind of Nyabinghi communal and mix it with the Jamaica mento and then we decide to create that beat and feel it on the one-drop. And it become the heartbeat of the people. This is reggae. I and I are the architect of reggae. Is it true that your brother began playing on empty paint cans when you were children? Yes! And I started out on a one-string bass, which I made myself. -
Keith Richards © Felix Aeppli 03-2020 / 08-2021
Not Guilty Keith Richards © Felix Aeppli 03-2020 / 08-2021 3001 December 18, 1943 Born in Dartford, Kent: Keith Richards. 3002 Early 60’s School gigs, Eltham, S.E. London, and Sidcup Art College, Kent: Country and western band (not recorded) KR, Michael Ross: vocals, guitar. 3003 Late 1961 Bob Beckwith’s home, Bexleyheath, near Dartford, and/or Dick Taylor’s home, Dartford, Kent: LITTLE BOY BLUE AND THE BLUE BOYS, SOME OLD SONGS (Download EP, Promotone/iTunes, May 27, 2013: cuts 1-6, 8 [1, 4, 5 plus repeats of 2, 3 all incomplete]); THE ROLLING STONES FILES 1961-1964 (BT CD: cuts 1-6, 8 [1, 4, 5 plus repeats of 2, 3 all incomplete]); THE ROLLING STONES, REELIN’ & ROCKIN’ (BT CD: cuts 1-5 [all incomplete]); DOWN THE ROAD APIECE (STONES TOURING HISTORY VOL. 1) (BT CD: cuts 1, 9 [1 longer, but still incomplete]); HOW BRITAIN GOT THE BLUES (BT CD: cuts 2, 3, 6, 8); BILL WYMAN’S BLACK BOX (BT CD [VGP]: cuts 2, 3, 6, 8); GENUINE BLACK BOX (BT CD box set [Disc 1]: cuts 5, 11-13); REEL TIME TRIP (BT CD: cut 7): 1. Around And Around, 2. Little Queenie, 3. Beautiful Delilah (all Berry), 4. La Bamba (Trad. arr. Valens), 5. Go On To School (Reed) [not Wee Baby Blues (Turner, Johnson)], 6. I Ain’t Got You (Arnold), 7. I’m Left, You’re Right, She’s Gone (Kesler, Taylor), 8. Down The Road Apiece (Raye), 9. Don’t Stay Out All Night (Arnold), 10. I Ain’t Got You (Arnold), 11. -
Table of Contents Provided by Blackwell's Book Services and R.R
Give Thanks and Praises: Acknowledgments p. xi Marley: Cultural Icon p. xiii Foreword p. xvii Wake Up and Live: The Life and Times of Robert Nesta Marley p. 1 Waiting in Vain: Oral History/Past Tense, 1962-1972 p. 2 Remembering Bob Marley (Rita Marley, Essence, February 1995) p. 3 Bob Marley at Studio One (Hank Bordowitz, previously unpublished) p. 6 Bob Marley: The Story Behind Chances Are (Atlantic Records Biography, October 1981) p. 12 Stir It Up: International Attention, 1972-1976 p. 18 I Was a Wailers (Lee Jaffe, excerpt from One Love, Life with Bob Marley and the Wailers)p. 19 Bob Marley Is the Jagger of Reggae (Patrick Carr, The Village Voice, June 30, 1975) p. 36 Musicmakers: Bob Marley and the Wailers (Vernon Gibbs, Essence, January 1976) p. 43 Innocents in Babylon: A Search for Jamaica Featuring Bob Marley and a Cast of Thousandsp. 46 (Lester Bangs, Creem Magazine, June and July 1976) Top Rankin': The First Great "Third World" Star, 1976-1981 p. 89 The Rasta Prophet of Reggae Music Speaks (Tom Terrell, MCY.com, January 2001) p. 90 The Reggae Way to "Salvation" (J. Bradshaw, New York Times Magazine, August 14, 1977)p. 96 Bob Marley: Movement of Jah People (Vivien Goldman, Sounds, May 28, 1977) p. 110 Tuff Gong: Bob Marley's Unsung Story (Carol Cooper, The Village Voice, September 10, p. 123 1980) Blackman Redemption: The Death of Bob Marley and His "Second Coming," 1981-2002 p. 136 The Chapel of Love: Bob Marley's Last Resting Place (Chris Salewicz, The Face, June p. -
Approved Judgment
Aston Barrett v Universal Island Records Ltd Neutral Citation Number: [2006] EWHC 1009 (Ch) Case No: HC 02 C00043 IN THE HIGH COURT OF JUSTICE CHANCERY DIVISION Royal Courts of Justice Strand, London, WC2A 2LL Date: 15/05/2006 Before: MR JUSTICE LEWISON - - - - - - - - - - - - - - - - - - - - - Between: ASTON BARRETT Claimant - and - (1) UNIVERSAL-ISLAND RECORDS LIMITED (2) UMG RECORDS INC (3) RITA MARLEY (4) CEDELLA ANITA MARLEY (5) DAVID NESTA MARLEY (6) STEPEHN ROBERT NESTA MARLEY (7) ROHAN ANTHONY MARLEY (8) ROBERT NESTA MARLEY (9) KAREN SOPHIA MICHELLE MARLEY (10) JULIAM RICARDO MARLEY (11) BLUE MOUNTAIN MUSIC LIMITED (12) ODNIL MUSIC LIMITED (13) FIFTY-SIX HOPE ROAD MUSIC LIMITED Defendants - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Mr Stephen Bate and Mr Richard Munden (instructed by Hamlins) for the Claimant Ms Elizabeth Jones QC and Mr Daniel Lightman (instructed by Eversheds) for the Defendants Hearing dates: 16th 17th 27th 28th 29th 30th 31st March 2006 3rd 5th 6th 7th April 2006 - - - - - - - - - - - - - - - - - - - - - Approved Judgment I direct that pursuant to CPR PD 39A para 6.1 no official shorthand note shall be taken of this Judgment and that copies of this version as handed down may be treated as authentic. ............................. Mr Justice Lewison Aston Barrett V Universal Island Records Approved Judgment Mr Justice Lewison: Introduction and parties .........................................................................................................4 Approach to -
Lee Jaffe Est Né Dans Le Bronx En Idées Dada, Comme « Rien Pour Demain, Rien Pour Hier, Tout Pour 1950
N é o n 2 0 1 3 L e e J a f f e 10.09.2013 › 09.11.2013 N é o n 2 0 1 3 L e e 2 J a f f e By Bye Amazonas e n c o l l a b o r a t i o n (around the bend) a v e c N i k o l a s S k i l b e c k , M a s s i m o P a n t a n o , C l i f f o r d C r u z , A r t h u r Z e r k t o u n i , L o r e n z o 1 0 . 0 9 .1 3 A c c a i e t a v e c l e s v o i x d e M a r i a 0 9 .1 1 .1 3 G l a d y s e t N e v i l l e D ’A l m e i d a Ve r n i s s a g e 1 0 . 0 9 .1 3 1 8 h e n R é s o n a n c e a v e c l a B i e n n a l e d ’A r t C o n t e m p o r a i n de Lyon 2013 a v e c l a p a r t i c i p a t i o n d e l ’ U r d l a , Villeurbanne (FR) a v e c l e s o u t i e n d e C e n t e r C h r o m e , Florence (IT) i n f o 2 0 1 3 3 Avec By Bye Amazonas (around the bend), il surligne quelques Lee Jaffe est né dans le Bronx en idées dada, comme « Rien pour demain, rien pour hier, tout pour 1950. -
Harambe: a Quarterly Newsletter, August
A Quarterly Foundation Newsletter Harambe is an African word which means “working together.” It is also the foundation’s slogan and name of one of Mrs. Rita Marley’s most popular tunes. Available through our website quarterly, this newsletter will be a vital vehicle to inform you of our foundation’s endeavors, events and accomplishments; importantly, we eagerly anticipate “working together” with you, through your contributions and feedback. So with One Love we could nurture Harambe into a constructive newsletter. Editor: Rita Marley Sharing the LLLoveLove in L.A. Writer: Rosemary Duncan ast week, Founder and CEO Scott Harrison spoke at a August – October 2011 private event in Los Angeles hosted by charity: water L supporter Charlie Ebersol. There, he met up with Inside this issue: friends from 1Love.org, an organization started by the Bob and Rita Marley Foundation to fund life-changing work Sharing the Love in L.A. 1–2 around the world. "I'm Gonna Be Your Friend" to stop famine in the Horn 3 of Africa I-Three Tore Up the Stage for Legends of Reggae 4 Concerts Blessed Earth—Strong Wishes to Mrs. Rita Marley 5-6 from Around the Globe Photo: Samuel Lippke Studios He sat down with Rita to chat about charity: water’s history and how our vision aligns with that of 1Love.org: http://vimeo.com/27344445 On stage, Rita presented Scott with a gift of $100,000 — all of which will go toward water projects in Ethiopia. Then, over the weekend, 1Love.org launched a new Facebook tab to share the interview and their support for our work. -
Burnin’”—The Wailers (1973) Added to the National Registry: 2006 Essay by Roger Steffens (Guest Post)*
“Burnin’”—The Wailers (1973) Added to the National Registry: 2006 Essay by Roger Steffens (guest post)* Original album Original label Bob Marley “Burnin’”: The Wailers’ Final Statement “Burnin’,” the resonant final album by the original Wailers trio of Bob Marley, Bunny Wailer and Peter Tosh, had its beginnings in Harry J's studio in Kingston, where all the basic tracks were laid. Mixing and overdubbing took place at Island Records’ Basing Street Studios in London during the spring of 1973, in between live dates the group played to support their critically-acclaimed first international release, “Catch A Fire.” “The album should have been titled ‘Reincarnated Souls,’ after a song I recorded for it,” recalls Bunny, “but because I dropped out of the group before it was released, the album was retitled ‘Burnin’,’ with ‘Reincarnated Souls’ used only as the b-side of an English single. We were coming to England on a mission.” He continues: We were going to establish Rastafarian culture and reggae music. So I knew that we had to have the Nyahbinghi drums so as to make the chant so that the people would understand that we had some foundation, that this music did not come out of nowhere. The drums had just been finished out by Six Miles [in Jamaica] by a guy named Ferry. The bass was made from the wood of the wine barrel and the funde was made from the trunk of a coconut tree. In late April ‘73, accompanied by these most rootical of instruments, the Wailers-- Bunny, Bob, Peter, keyboardist Earl “Way” Lindo, drummer Carlton Barrett and his bassist brother Aston “Family Man” Barrett (also known as Fams)--landed in the foggy chill of England.